In 2025, Lagos-based designer Paul Yakubu introduces the Isẹn Seat, a thoughtful and materially inventive bench that transforms discarded paper tubes into a refined, customizable piece of furniture. Produced in Lagos, Nigeria, the project sits at the intersection of sustainability, cultural observation, and user participation—offering a design solution that is as educational as it is visually compelling. Developed with production assistant Abdullah Ogunsetan and documented by photographer Jide Ayeni, the Isẹn Seat reflects a collaborative approach grounded in craft, experimentation, and storytelling.

At its core, the Isẹn Seat is a meticulous combination of paper tubes and an elegant steel frame. The design invites users to actively engage with the object by wrapping fabric around the tubes, allowing for endless personalization through color, pattern, and texture. This open-ended approach shifts the role of the user from passive consumer to co-creator, making each iteration of the bench unique. Whether wrapped in bold Ankara prints or subtle woven textiles, the seat becomes a living expression of identity and environment.

The project draws its primary inspiration from the visual and material language of Nigerian textile markets, where fabric rolls are displayed on cylindrical paper cores. These cores—often discarded after use—became the starting point for Yakubu’s exploration into upcycling. Reflecting on early material research, the designer recalls surveying these tubes in local markets and discovering their surprising durability, soft matte surface, and structural potential. When arranged in multiples, the tubes create a tactile and comfortable seating surface, prompting Yakubu to design a supporting structure that would elevate and frame this everyday material.

This led to the development of the bench’s steel framework, which takes cues from the engineering logic of arch bridges. A circular primary arch forms the backbone of the structure, while secondary vertical supports slide into it and are secured with screws to ensure stability. This system not only provides strength and durability but also reinforces the bench’s modular character. The visible connections and clean geometry lend the piece an industrial elegance, balancing the softness of the paper tubes with the precision of metal construction.

The name Isẹn, derived from the Esan word for “five,” reflects the bench’s construction logic and conceptual clarity. Five paper tubes and ten screw connections come together to form a complete seating unit—a simple kit that can be easily assembled and reconfigured. This modularity makes the design accessible and adaptable, encouraging users to engage with both its structure and surface. By allowing any fabric to be wrapped around the tubes, the bench becomes infinitely customizable, capable of evolving with changing tastes, spaces, and cultural contexts.

Beyond its functional and aesthetic qualities, the Isẹn Seat operates as a subtle yet powerful commentary on material lifecycles and sustainable design practices. By recontextualizing waste as a valuable resource, Yakubu challenges conventional perceptions of what constitutes a “worthy” material in contemporary design. The project highlights the potential of local observations to inform globally relevant solutions, positioning the Isẹn Seat within a broader discourse on circular design and responsible production.

Produced entirely in Lagos, the bench underscores the importance of local manufacturing and context-driven innovation. It is a piece that not only responds to its environment but also contributes to a growing body of African design that is redefining global narratives around sustainability and material experimentation.

For inquiries, Paul Yakubu can be reached at yakubupaul23@gmail.com, and more of his work can be explored via www.umbrellaarchitecture.com.